Showing posts with label eulogy. Show all posts
Showing posts with label eulogy. Show all posts

Tuesday, May 05, 2026

Rudy Acuña, the Chicano Bible & the True Believers

Ed. Note: Guest Columnist Elias Serna eulogizes Rudy Acuña. By coincidence, this student-to-teacher tribute publishes on el cinco de mayo 2026. Rodofo F. Acuña. Presente!

You may share your own words about Rudy Acuña using the Post A Comment link at the bottom of the page.
--Michael Sedano


Rudy Acuña, the Chicano Bible & the True Believers

Elias Serna 


And Jose Dolores says, it is better to know where to go and not know how, than to know how to go and not know where.” -the rebel Guarina in Gio Pontecorvo’s “Burn!”
 
No we are not equals. I am a man of knowledge… and you are a pimp, doing the work of others” – Don Juan in Carlos Castaneda’s Journey to Ixtlan

When I was a kid my older brother attended Santa Monica College, where a Chicano counselor Nati Vasquez mentored him and introduced him to MEChA and Chicano Studies. My brother brought the first Chicano books to our home. In ensuing years, I tagged along with my brother and sisters to MEChA conferences, UCLA’s La Gente office, Chicano Moratoriums, Central American Solidarity gatherings and other Chicano events. I often say the Central American civil wars politicized me, but it was through Chicano Studies and the student movement that I became “awakened.” 
            
To be more clear, my world awareness and political consciousness were developed when the injustices and horrors of the near and far were “called into question” – through a Chicana/o point of view. I entered college eager to be politically active. My freshman year I enthusiastically enrolled in a Chicano History class taught by Alex Saragoza. He assigned several chapters from the freshly published 2nd edition of Occupied America: A History of Chicanos (Acuña had just discarded the internal colony theory after pressure from the Berkeley Marxists). I read the entire book.
            
At an event at Casa Joaquin Murrieta student co-op, some of my brother’s friends from Davis showed up. They were the first to tell me I was reading “the Chicano bible,” a common phrase of the 80’s and 90’s. Those of us “in the movement” were often called the “true believers,” fanatics, so having a Chicano bible was perhaps fitting. When I visited my brother at UC Davis, I learned of the RCAF, the “Royal Chicano Air Force” artist collective, veteranas/os who were said to hold certain books in high esteem: El Plan de Santa Barbara, El Plan de Aztlan and Occupied America. Perhaps because I attended Catholic School and was raised a “stone Catholic,” I was in awe that Chicanos could possess our own “holy books.” These texts, often collectively authored, had mobilized the movement, but they also held principals of liberation, tenets of our identity, which continue to guide or influence Chicanx organizers, educators, student activists and some academic departments today. 
            
Occupied America gave my life clarity, focus and direction. I reckon it was playfully but endearingly named the “Chicano bible” because in a way it is the Chicano Creation Story. Carey McWilliams had written the excellent “North from Mexico,” but here was our official history, finally documented and vigorously researched by a Chicano historian. It is Acuña’s magnum opus, a tremendous feat of scholarship  in 9 editions, a monumental research task, eloquently articulated, polemical at moments. Its versatility satisfied academic standards and was readable by students, non-students or a prisoner. It gave enormous infallible credence and a solid historical foundation to our newfound identity – as well as laying the cornerstone to the field of Chicano Studies! It highlighted major themes and motifs of Chicano and Third World liberation movements: an unapologetic counter-story to white supremacy and Mexican mediocrity, a history of consistent community militancy and resistance to colonialism and racism in the Southwest, self determination (in action and style), the significance of the marginalized to history (the indigenous, peasants, miners, farmworkers, students, etc.). It was scholarship to be proud of and to hold up as our own.
            
Quoting Franz Fanon and Paulo Freire in the first edition, the polemical third world liberation style of Occupied America was criticized by academics almost as often as it was quoted by activists. The UCSB lawyers highlighted his rhetorical style to validate their rejection of his application for a faculty position in the 1990’s, claiming his book was not “serious scholarship” but propaganda. They also claimed his version of the Mexican American War - that the U.S. invaded Mexico - was incorrect, while the majority of the world’s historians agreed with Acuña. Ultimately, he sued and won a precedent discrimination case against UC Santa Barbara. Instead of splurging the money on himself he established a legal fund to support faculty discriminated in higher education.  
            
Acuña’s text was called the Chicano Bible not just because it was an academic text. It also served as a moral compass. The misinterpretation of the polemical style was that it was attempting to rally people for a particular cause or set of causes. At closer investigation one has to recognize that interpretation is the fabric of epistemology. The writing down of Chicano history necessarily established Chicanos as a people. Critical race theory author and law professor Ian Haney Lopez explains in Racism on Trial that the Mexican American race needed to be identified, defined and invented in the courts; and the infamous Chicano lawyer Oscar Zeta Acosta performed a similar monumental task in proving for the first time that Chicanos existed as a people in a court of law. Prior to the Chicano Movement cases (the Biltmore 6, the East LA Walkout conspirators, and Catolicos Por La Raza defendants) Mexican Americans were not recognized as a protected class like African Americans or women. In 1969 and 1970, Acosta argued in court that Chicanos were a distinct people with a documented history of discrimination and racial oppression. A chapter in his novel Revolt of the CockroachPeople illustrates this history, albeit in dramatic, imagistic hyperbole beginning with the hispanic invasion of Tenochtitlan. 
            
Acuña importantly framed Chican@ history as an indigenous people’s history struggling to liberate itself from Euro-American (a term he helped popularize) occupation, colonization and racism. To label his text as polemical is to belittle his research and to overlook the deep effects on collective consciousness. As W.E.B. Dubois did with A Black Reconstruction, Acuña’s task also went against the grain of so-called objectivity; a so-called domain of the Anglo Ivory Tower. The Chicano bible gave Chicano students a mission to continue the resistance, to “return to the varrio” as professionals, and be of service to the people. It was okay to better our station and get good jobs, but without a moral compass we were doing “the work of others” - as the Castaneda and Pontecorvo epigraphs warn. 
            
In the 90’s I believe my generation impacted Rudy’s narrative and historical frame. The 1992 quincentennial of Columbus radicalized us and reminded us of our colonization and our deep and tangled indigenous roots. It awakened a quincentennial consciousness. We read about our hemispheric roots, a Mexico Profundo, re-shaped our name to Xicana/o or Xican@, set off for Aztlan, ran in the hemispheric indigenous Peace and Dignity Runs, and crawled into the sweat lodge. Acuña re-wrote the Xican@ origins, moving from 1848 to millenia, and surveyed the world systems of indigenous America – also known as Anahuac, Turtle Island or Abya Yala. A true Xican@ decolonization could not overlook our deep indigenous roots in the hemisphere and how the hispanic invasion of Taino lands, of Tenochtitlan and of the Americas impacted if not created our cultural dna. 
            
The internal colony theory came subtly back to life.  
            
The first time I met Rudy was at Berkeley on the roof conference hall in Barrows Hall. The Chicano Marxists scholars stood in the back of a packed hall. Afterward, I went to meet him on the outdoor balcony to thank him for writing the book I’d read. He asked me for a cigarette and I gave him one of my camels. Historian Jose Moreno says that’s the same way he met Rudy. I met him again at the Justice for Janitors protest, days after police beat Raza union organizers in the street; Yaotl from Aztlan Underground was his “body guard.” I would see him speak over the years sporadically. 

In the 2000’s, after being fired twice from Samohi for being a political teacher, I was hired at CSUN’s Chicana/o Studies Department where I worked for 7 years. It was one of the best and busiest times in my life. Rudy was “my colleague” and we shared many memorable interactions; he even included a joke I pulled on him in his 7th edition preface. I was teaching Occupied American for a class and looked up earlier editions in the library, where I found a very thin pamphlet, the spine titled “Occupied America.” It was a program for a conference on his book in Texas. At a department meeting, I held it up and chastised him in front of our colleagues for editing down his latest edition into a “Chicano history for Dummies.”
            
Around 2008, Rudy and a few mentors gave me the blessing to pursue a Ph.D., so off I went to UC Riverside to study English literature, rhetoric and Chican@ Studies’ epistemology. During this time, I attended the summer conferences of the Mexican American Studies Department at Tucson, an exceptional high school program that had not only “closed” the perennial academic achievement gap (the gap in grades/scores between minority and Euro-American students) but inverted it. The Tucson teachers were a dynamic group of wonderful educators and true believers, some pursuing PhDs at the U. of A. Arizona politicians attacked it, leading to widespread protests, lawsuits and full-on pleito. California and Texas educators joined the struggle with groups forming like Librotraficante, Raza Studies Now and the Xican@ Pop-Up Book. Rudy had roots in Tucson and we found ourselves shoulder to shoulder. The writings of Rudy, Roberto Dr. Cintli Rodriguez and the multi-modal A.B. Morales (Three Sonorans) were instrumental in getting the word out to Californians and the nation. 

In 2011 the Arizona governor signed MAS’s death warrant and the classes were shut down in 2012. A lawsuit by teachers over the state’s racism kept the fight going, as an Ethnic Studies movement spread nationally, and was victorious in 2017 (the year I completed my doctorate). 
The MAS department never came back to life, but Ethnic Studies campaigns and programs spread nationally and California passed Ethnic Studies requirements in state high schools and colleges – although currently governor Newsome and the pro-Israel Legislative Jewish Caucus have been blocking funding and attempting to censor our curriculum. Ethnic Studies Now rallied for a state high school requirement, and educators successfully passed a requirement in the CSU’s and community colleges around 2019; hundreds of Ethnic Studies teaching jobs sprouted. As we had proclaimed early in the movement, quoting Sandinista poet Ernesto Cardenal, “they thought they had buried us, but they didn’t know we were seeds.” 
            
Early on, at one of the first Raza Studies Conferences organized by the PYFC and held at Santa Monica College, educators convened from around LA county and the state, drawing up “El Plan de Los Angeles” which outlined principles and called for the building of Raza/Ethnic Studies programs in high schools and community colleges. Rudy came to help us inaugurate the movement. We held a panel on Chicana/o history, with 3 people who had read Occupied America; a professor, an artist and a homeboy from the neighborhood, Carlos, who had read Rudy’s book in prison. Afterwards, we introduced them to each other. Carlos explained, “you know, your book saved my life.” “I’m glad you found it useful –“ Rudy began. Carlos interrupted him “- no, you see, I was in a prison brawl, so I taped your book to my ribs for protection and it saved me.” One could say, the Chicano bible literally saves lives in more ways than one.  

 The academic job market was fierce and when Covid 19 hit in 2020 my one-year English Assistant Professor contract at University of Redlands ended and work dried up as the world came to a stand still. Capitalism was interrupted, wars ended. The Earth began healing. I was jobless. It was the best of times, it was the worst of times. Years later, I slowly began teaching again in person and online. After numerous rejections at full-time employment and personal setbacks, Rudy offered to write me a letter of recommendation and said, “before I die I want you to get a full time position.” 

His letter helped me get teaching work at Cal State Channel Island, formerly the Camarillo State Mental Hospital. A close family member of mine had been captive there during my childhood. I felt in a way as if on a pilgrimage, returning to a chapter of a past life. In the library one day, I came upon a red and black pamphlet with radical Chicano imagery on the cover. Perusing it I realized it was the Memorial to Magdalena Mora, an energetic young Chicana organizer who had died young. Numerous labor leaders, scholars and figures had paid tribute; Corky Gonzalez sent a telegram. Rudy’s eulogy was the most eloquent. When Juan Gomez Quiñonez died, Rudy told me, “Juan really had a great command of the English language.” But I thought the maistro had a special way with words. Scattering jade, as the Ancients say. We are enriched by their words, the story-telling.  
            
Between shelves in the upper story of the library, I read this passage: “When I first met Magdalena, I didn’t know how to take her. She was a student, about 18. She was criticizing things. But, I’d heard an awful lot of students who criticized things, and many times, maybe because you have the canas in your head, you see a lot of things, you start to become cynical. Then you start to listen to a person… you start to look at them in their point of struggle. And I looked at Magdalena, and I said, what a beautiful fanatic, because the fanatics make the movement. The people that have the clarity of vision make the movement. The agitators make the movement. The people that don’t compromise make the movement… She never compromised, and that’s her importance. She’s not an individual. She came out of a collective group. She came out of you. She is present in you. She’s present in me. She’s present in all of us… (criticizing artists paid by beer corporations) Magdalena never sold beer. She sold ideas. She sold a vision. She sold a way. And this is what we must do. We must learn to be fanatics.”
            
I guess reading this passage inside a former mental hospital where my relative stayed has its own kind of presence effects, but at the moment it was the Universe speaking very clearly to me, through Rudy. When I was doxed by the Canary Mission Project in 2024, Santa Monica College, after receiving over 12,000 emails claiming I was anti-Semitic, let me go. Rudy sympathized with my persecution and reached out to help. That is when he wrote me a letter and made that comment to me. Geez, I didn’t even want the job now. I wanted Rudy to live forever. But only the struggle outlives us, and the only thing that lasts forever is the Universe. A year later, I found plenty of work. Then I got the dream job. The Universe saved me, and Rudy was part of it. 

It was the best of times, it was the worst of times. Sometimes, I laugh and I cry, all at once. Like a fanatic. Blessed, enriched.

He was a Master Teacher. Rest in power Rudy Acuña.


--

Elias Serna holds a PhD in English/rhetoric from UC Riverside. 


He is a founding member of Chicano Secret Service teatro, Raza Studies Now and the Xican@ Pop-Up Book. 


Serna has taught writing and Ethnic Studies at CSU Northridge, University of Redlands, SMC, San Jose State and CSU Channel Islands. 


He is a parent and a Chican@ Studies professor. 

 

Tuesday, June 10, 2025

where once the sweet birds sang

A Tree Grew in DTLA
Michael Sedano

There’s a triangle of cement near the heart of downtown Los Angeles. Here East Third Street crosses Main Street and veers sharply south toward J-Town and the river. And pa’lla, Boyle Heights and East LA. The Bradbury Building and Wayne Healy's Anthony Quinn "Pope of Broadway" mural are a few blocks West. If ever a spot deserved a magnificent tree, it's this hard monotonous slab of cement. A tree grew here, once.

I think that I shall never see
A poem lovely as a tree.


Unknown souls live around here, spillover from adjacent skid row. Tourists like me pass en route from Pershing Square Metro to J-Town Metro. This is LA’s most interesting section for discovering architectural exemplars while immersing in LA’s rich cultural diversity and hard-ass struggle.

At one time, this now cyclone-fenced plaza grew trees. At the apex of the triangle grew a tree that must  have been a thing of beauty, this tree. A Coral Tree is my guess, Erythrina x bidwillii, whose scarlet-flowered spiny branches grow and twist into picturesque natural sculpture supporting a canopy of deep green curved triangular leaves. 

An early summer bloomer, Coral Trees are in season now. This one would have been approaching full flower. Pedestrians would have hitched a step, taken selfies, rested in the shade eating a paleta from a nearby vendor or shared a bottle with a fellow wino. Honeybees would have packed leg pouches with pollen and filled the air with their happy buzz. Colibríes would have browsed across the blossoms chirping and micturating and pooping like they do, before flitting away to plot returns that will never be. Not to be, like all the things that are absent when a tree is removed.

Hummingbirds and photographers love Coral Trees. Landscape designers love its natural shape but also its trainability into shapes and planted in rows forming traffic barriers, a shady promenade, a seasonal garden highlight, a shady respite on this anonymous urban street corner where trees belong. Where trees shouldn't be killed.

Coral Tree at Huntington Library and Colibrí Allen's, June 4, 2025


The Coral Tree at the corner of E Third and Main St had been managed. City workers pruned it into a sturdy upright trunk that rose high before branching toward the sun, its canopy cantilevered overhead making merciful shade.

Disused real estate in DTLA is not long for this world. This triangle of land where that wondrous tree--the last of its tribe in DTLA--grew, must occupy dreams of monied interests somewhere, waiting for the smoke to clear.

A tree that may in summer wear 
A nest of robins in her hair


May 22, 2025. Slated for removal, useless to the owners.

This Coral Tree was forced to die. And die it did. It has. It’s gone now

I passed the tree on May 22. I nodded my respects to its spent remains, its protected status. Cyclone fencing saves the skeleton from the ignominy of spray can taggers. Or conversion to leña by unhoused locals whose winter trash fires ravaged neglected fiberglass planters, burning them down to the dried fill dirt. Fires didn't last the night but they must have given a lovely light.

I passed again on June 7 to see a two-foot stump where once the sweet birds sang. Pa’lla, over by the parking lot, next to the massive Agave, sole survivor of landscape dreams, the decayed Coral Tree trunk reposes.

June 7, 2025. That Agave tree has been trimmed hard, but hangs on.

A Coral Tree takes a long time to die. It takes a lot of nerve to let it. But die it has. So it’s been a long time that birds nested in the crooks, colibríes hovered at the tree’s tubular flower clusters looking like deep sea petrified coral. It been a long time that people found respite from punishing glare and pavement heat in the Coral Tree’s shade. Now, ya stuvo for that Coral Tree.

So it goes.


The best time to plant a tree is twenty years ago. The second-best time to plant a tree is now. 
 
It’s never easy to say goodbye to a tree.


Goodbye, Coral Tree at E. Third and Main. Ave atque vale.

Who can make a tree?


Joyce Kilmer, 1886 – 1918

I think that I shall never see
A poem lovely as a tree.
A tree whose hungry mouth is prest
Against the earth's sweet flowing breast;
A tree that looks at God all day,
And lifts her leafy arms to pray;
A tree that may in summer wear 
A nest of robins in her hair;
Upon whose bosom snow has lain;
Who intimately lives with rain.
Poems are made by fools like me,
But only God can make a tree.

Tuesday, October 29, 2024

Peter J. Harris QEPD


Peter J. Harris leaves a resounding legacy in memories of astounding performances of the poet's work. Every performance offers a constant reminder that Harris is a consummate reader and interpreter of poetry, one of the language's two best male readers. 

Sharing fotos and accounts over the years of Peter J. Harris readings illustrate the poet's ability to make a difference in the lives of an audience, a readership, and fellow poets. In memoriam, I share a pair of columns, Harris' farewell performance as Co-Poet Laureate of Altadena, California, and a reading with Luis J. Rodriguez at a critical point in one listener's life.

La Bloga is privileged to have shared Peter J. Harris, the man and his work, witnessed at his September 2023 farewell reading, when Harris and his Altadena Co-Poet Laureate Carla R. Sameth, concluded their two-year service. The event also marked Harris' goodbye to his longtime Southern California home. (Click the link below to read the full account.) 

Hail and Farewell forms the heart of an evening's poetry reading with Altadena, California's co-Poets Laureate, Carla R. Sameth and Peter J. Harris (link to biographies). The audience quickly fills every seat and staff bring more chairs, and more people arrive. There's a buzz in the air, electric excitement you feel on rare occasions. Something Significant occurring here.

The news had reached many attendees: Peter Harris is really sick. Peter Harris is hospitalized. Peter Harris might not attend his own reading. Tonight, Peter J. Harris sits at the front of the room. He's using a 4-wheel walker and a cane, looks frail. The Poet takes the lectern. He shares his news: Peter Harris is moving to Florida.

Familia and friends have thronged to be with the poet this important, landmark evening. https://labloga.blogspot.com/2023/09/hail-laureates-atque-vale-peter-j-harris.html


Peter J. Harris, along with Luis J. Rodriguez, resuscitated my soul the evening I'd checked my wife, Barbara, into a memory care ward where I feared she would live her remaining years. (Click the link below to read the full account.)

The two poets reading in a local bookstore I'd never set foot in offered a powerful lure. Luis J. Rodríguez and Peter J. Harris need to be experienced in writing and in person and together, and they were reading in Pasadena at Battery Books at the city's least amenable to foot traffic address. Siri knew where it was but damned if I had confidence in where she was leading me. But I have an imperative tonight. It's the night of the day my wife went into Memory Care and just like that, I am living alone. 

Tonight, I test my sea legs as an independent entity. I'll deal with the guilt later, at having fun and being out among 'em without her. We hadn't done much going out the past few years as the Alzheimer's progression expressed itself by fatigue and agoraphobia. Gente came to Casa Sedano and that's how we got our poetry read aloud, the Living Room Floricanto.


These guys write kick-ass poetry. These guys write break-your-heart-for-all-sorts-of-reasons poetry. Poetry that breaks your heart for its stories and voices of tragedy, privation, desperation, love. Poetry that breaks your heart for being il miglior fabbro stuff. Rodríguez is the emeritus Poet Laureate of the City of LosAngeles, that kind of quality. I don't know why Harris hasn't been named to a Laureateship, that breaks your heart.
https://labloga.blogspot.com/2019/07/recharging-at-battery.html

Eulogies to il miglior fabbro

Luis J. Rodriguez

The extraordinary poet, activist, and wonderful human being, Peter J. Harris, has passed. I send my deepest condolences to his family and countless friends and admirers. He was also a dear friend. We met 44 years ago at the University of California, Berkeley where we were part of the 1980 Summer Program for Minority Journalists, an 11-week training program. He was my roommate in the university dorms. The program consisted of young writers of color from all over the United States. Peter and I also had two small children each. Mine were six and four when I entered this program. His were in Washington D.C. Mine in East Los Angeles. Twenty-six years old, I no longer had a wife or a family, although my children were constantly in my heart, and I had to forge a loving relationship with them despite a messy breakup and years of abandonment on my part. Peter and I talked about this: love, children, broken relationships, being imperfect in our responses, and then what we had to do to become the fathers they needed. Too many wrongs can make right, but it takes work, dedication, and love, love, love. I have had a hard time, but I'm now good with my oldest children (and two other sons, five grandkids, and seven great-grandkids). I know Peter has filled this gap as well. More importantly, while we struggled to be journalists of color at a time when we were less than three percent of U.S. newsrooms, we both also became renowned poets. While I lived in Chicago for fifteen years, when I returned to Los Angeles I was glad to know Peter was already here. We renewed our friendship, and took an active part in this city's expansive poetry scene. I was also honored to publish Peter's powerful poetry collection "Bless the Ashes" with Tia Chucha Press (link), my small press (now 35 years old), also part of a larger cultural space and bookstore known as Tia Chucha's Centro Cultural & Bookstore (link). Peter was not only a friend, but one of the most amazing poets. More importantly he was generous of heart, a sweet soul. He fought for happiness in a world that didn't seem to have much. He was about spreading joy; he was joy. I honor Peter J. Harris, griot for the ages.


Thelma T. Reyna

Our world was diminished with the passing of Peter J. Harris, a literary star whose brilliant, musical poetry and prose awakened our senses and broadened our understanding of humanity. He was a consummate Co-Poet Laureate in Altadena, CA, one of the finest Laureates any of us has known. He gave us his best work, his best thinking in each project he undertook: as journalist, editor, speaker, blogger, advocate, community leader, and founder of the Black Man of Happiness Project. He mentored, collaborated, and inspired, always kind, thoughtful, honest, and courageous. Those of us who knew him and worked with him will deeply miss him.

Peter was the brilliant Editor of my Golden Foothills Press' Altadena Poetry Review: Anthology 2024 (link). Battling a critical illness, he singlehandedly vetted over 350 poems submitted to us for the anthology from throughout the U.S. He culled these to 178 poems, and the anthology was born. In a conversation with me, Peter said he considered this book his "gift" to the poetry community. It was his labor of love and excellence. It was his last published book.


Link to the Press: http://www.goldenfoothillspress.com/


John Martinez

When a mountain disappears from the surface of earth, the people are left, shocked, with disbelief, unaccepting. Fact is, a mountain, a true mountain, never leaves. It gazes over, all that is terminal, the animals, the mumbling trees; it stands, above and is always, always present. This is what I feel about the passing of Peter J. Harris. We mourn, that we won’t see him again, those glasses, tipped on the rim of his nose, his straight shoulders, the time colored grey-his trimmed gotee the light bronze of his face. We won’t hear him, on stage, clutching his open book, slightly hunched into the mic, eyes wide open, drawing us all in, as he peers back at us, then back to his open book, then, back to the audience. But you see, he’s a mountain. He emerged from the earth, eons ago. And we could see him, from afar, his presence, in the blue, blue, between the green hang of tree branches. 

Once, I gave Peter J., a ride to his home, after a poetry reading in East Los Angeles. We were in my convertible BMW. The air was brisk, the sky, an emergence of firefly’s and stars. I was in my dark mode (as usual) existential angst, this uselessness I felt, about writing, about poetry, and the thought of death was so overwhelming. And he was patient as a seasoned doctor, always on call. I, then, reminded him, that all of this was in contrast to the sheer optimism in his writing, the love he had for his community, for all of us-his poetic and precise love for life itself. He responded with Patience. Patience for an old poet, 59, going on 15., “What is important here,” he said, as the night sky breeze chilled our faces, the wind ruffled through his sheep’s pelt hair…“It’s all about, happiness.” He said. And he looked over at me and grinned. It was that look that Vic (my brother) would give me when my observations were off put, that it might be time for me to shut up and listen.  Besides, it was foolish of me, to act out my fears, before legendary poet. A man, who had already risen from such nonsense. “Happiness.” This is the word. This is what makes the ink, worthy. And so, on the way, Pasadena is green. Greener than I have ever imagined. Even though, I passed through, many, many, times-this time, the hues were vamped, like someone sloshed on the landscape with a photoshop saturation brush. And the streets are shimmering, tar mirrors from a rain that was less than a mist. And when we stopped at the entrance to his home, he said to me; “Always write, and consider happiness,” as he gathered his books and a few tattered  notebooks, crunches them to his chest and opened the door. And in my trek to my own home, I took the 210 Freeway, East, and to my left, the soft outlining of foothills and behind them, the dark blue bold of snow peaked mountains, I felt the permanency of it all, how something’s in life, remain, always remain. 
RIP Peter J. Harris.






Tuesday, November 29, 2022

Suerte Sirena. ¡Presente!

Michael Sedano

The Los Angeles Times book section surpised me joyously on November 27 as writer Christopher Soto introduces millions of people to our La Bloga colleague, tatiana de la tierra, qepd.

Soto is completely accurate in his call for more recognition of the work of our colleague. Today, La Bloga-Tuesday offers links and material Soto's research missed.



Here's a link to the article with hopes it's not behind a paywall. 

Soto offers a thoroughly interesting story about tierra's literary activism and supportiveness for other writers, her own creative work in writing, fashioning libros cartoneros, publishing. The Times and Soto missed tierra's conecta to La Bloga.

Ni modo. Here are two La Bloga columns, and a video link, remembering our colleague. The first, by this link (please click here),  comes from by Amelia ML Montes, collecting memories of our colleague upon her transition.

The second, reproduced in full, by Olga García Echeverría, relates the news that readers today enjoy free access into tatiana de la tierra's website and extensive materials for study and enjoyment.



Olga García Echeverría




Fotos: Rotmi Enciso


http://delatierra.net/

Shortly after tatiana de la tierra passed away in the summer of 2012, her website went down. My brother managed to temporarily put it back up. Later in the year, though, the link was dead again. For the past two years, the website has flickered in and out of existence. Mostly, its been dormant.

Not having full access to tatiana on the Web drove me mad, as I'm sure it did many people who love and miss her. tatiana had invested a great deal of time and effort in her original website. She had a particular aesthetic too--clean, simple, bonito. In the spirit of Literature for All, she had also carefully selected a wide range of previously published materials to share on the site. Anyone could visit delatierra.net and read "Mujeres con barbas," "Visions of Colombia," "Big Fat Pussy Girl," and so much more.

I don't know much about websites, so the job of resurrecting tatiana's electronic domain mainly fell on the shoulders of my brother, Mario Garcia, and my girlfriend, Maritza Alvarez. They both are pretty busy individuals, juggling work, deadlines, and just plain old life, but like me, they both loved tati, and she loved them.

On the surface, it may seem very simple. A website goes down? Put it back up. Ya estuvo. But it wasn't so easy. tatiana's website resurrection project was emotional at the core. Yes, we have always known how important it was to get the site back up and share it con todos, but the loss of tatiana in 2012 left us all a bit spellbound, mourning. Also, tatiana was ultra picky. Because we respected her and her work so much, we knew we needed to be realistic and take our time verus rushing to put something/anything up.

What we had when we embarked on the journey of reconstructing tatiana's site were files of the old website (almost all of them) and also the memory of what the site looked and felt liked. We also had everything she and her mother Fabiola had left us--boxes of papers, libros, fotos, muebles, piedras, lamps, Colombian casitas en el campo, ojos de Dios, bath salts, so, so, so many things. We were surrounded by tatiananess, especially at my brother's office where tatiana herself had, during her final weeks, designated box after box be sent to "La Oficina de Mario."

http://delatierra.net/

Since I had witnessed tatiana's initial website journey--she was meticulous and obsessed about cada detalle--I had a pretty good idea of what she wouldn't want and what was important to her. I knew that reconstructing her website would have to be done como ella lo hubiera querido, and because we did not want to run the risk of injecting too much of our own ideas and aesthetics into it, we made an agreement to make the site as close to the original as possible.

My job during the process was mainly to be a bossy overseer. I wasn't at my brother's office regularly. I just showed up every now and then and made comments or suggestions. Yes, I was super annoying. Imagine, "No, no, no, tatiana wouldn't like that. Asi no era el original. tatiana always had a site map. We have to add a site map. tatiana..." I got exasperated miradas and sighs from Maritza and Mario, who were putting in the real labor whenever they had the time, but mostly my tati-demands were met with patience and understanding.

I asked Maritza what working on the website was like for her, and here is what she shared. “Being a part of the collaborative process to relaunch tatiana's website was both an honor and a unique opportunity. It was also a memorable and special experience. I recall several times sitting in front of the computer for hours as I read through her writings and browsed through her photos. Often there were moments when I blurted out 'damn, she's bad-ass!' Then my eyes would swell up with tears because I was better able to understand why she was so terribly missed by so many. I also found myself laughing aloud because she had such an unapologetic rhythm and rhyme to her writings! All these things I had heard of from you, Olga, but revamping her website felt like I was personally discovering them for myself. And those were definitely special moments! I will always appreciate and cherish them. Who wouldn't?”

My brother had the following to say (I believe it's partly in tatiana-Mario code because they shared a special bond).

"mono cosmico azul, sirena, tomate, hermana shamana, puro fuego
blue cosmic monkey, mermaid, tomato, shamanic sister, pure fire

tatiana was a great friend and teacher, so I feel honored that she chose me to be one of her keepers...amongst the many boxes, writings, artwork, furniture, bed sheets, and such...tatiana lives among us, when we sit in her rocking chair at the office, stare at the Botero painting, read her poems, and especially when I have to carry her very heavy boxes (insert happy face)."

Bueno, this is our bloga for today and here is the website link again, in case you missed it.




Please visit it and share it! If you knew tatiana, you will surely be delighted to read or re-read some of her classics. If you didn't know tatiana and are wondering why I am always mentioning her in my blogs, check out her work and enjoy. All of the tabs on the site, the chosen literature, and the general organization of the materials are from tatiana's original webpage. The exception is the tab entitled Suerte Sirena, where we have added a picture of tatiana taken by Rotmi Enciso and Ina Riaskowa, a quote from me, and links to tributes to tatiana. There are still a couple of future tabs to be added, one that will feature links to tatiana's blogs here at La Bloga, and another one that will connect visitors to tatiana's archives at UCLA. But all of that is for Resurrection delatierra.net Part II.

Hasta next time, gracias and happy Sunday!


=== === ===

tatiana de la tierra performs (link, please click here) at the 2010 Festival de Flor y Canto, University of Southern California

https://digitallibrary.usc.edu/asset-management/2A3BF113W3W3?WS=SearchResults

Tuesday, February 02, 2016

Floricanto for Francisco. Pushcart Floricanto.


Michael Sedano

Click here to view Francisco X. Alarcón's reading at the 2010 Festival de Flor y Canto Yesterday • Today • Tomorrow, held at the University of Southern California.


 USC's Visions & Voices program had approved funding for the 2010 Festival de Flor y Canto Yesterday • Today • Tomorrow and Francisco X. Alarcón and I were discussing his joining us and making sense of the poetry community. He'd launched Poets Responding to SB 1070 and was inundated with submissions. What to do with such abundance?

That's when it became imperative that La Bloga become the home for all those voices who needed to be heard. Thus, in 2010, La Bloga On-line Floricanto became a regular feature of La Bloga-Tuesday as an element of, and as a precursor to,  the mid-September reunion floricanto. The theme for the three days would be "yesterday today tomorrow" and On-line Floricanto is here and now.

Francisco recruited a dedicated crew of Moderators. Their task is reading all the submissions and nominating a lineup for, at first weekly, now monthly and special occasion, On-line Floricantos.  Regretfully, now in our seventh year of working together, a milestone.

Francisco died. His spirit remains among us, inspiring new work, new voices, a benevolent presence demanding no minutes of silence but instead hours of joyous voice. Like that time in Albuquerque when  Francisco,  Karen S. Córdova,  and I laughed away an evening of dinner, wine, chisme related to poets, poetry, writing, and various movimientos. An unforgettable reminder of the sustainability of our life force.

Today's La Bloga On-line Floricanto comes from the hearts and souls of poets who knew Francisco, who were influenced by Francisco, who loved and were loved in return. Orale, Francisco, they wrote these poems for you.

For readers, as you enjoy the work below, and whenever you hear poetry read out loud, listen behind the voice. Just before the first word, and with the closing word still in the air, listen. You'll hear it. Listen, a voice calling to the Four Directions, "tahui! tahui!"


Canto for Francisco X. Alarcón, by Juan Felipe Herrera
To Francisco X. Alarcón, by Allison Hedge Coke
Achcauhtli, by Odilia Galván Rodríguez
Let it Be Another Day, by Edward Vidaurre
Dador de Poemas, Giver of Poems, by Sonia Gutiérrez
For Francisco X. Alarcón, by Jose Faus
Ce Ome Yei, by Iris De Anda
Chicahua Invocation, by Meg Withers
Because He Teaches Butterflies, by Karen S. Córdova
Pachamama, by Genevieve Lim



Canto for Francisco X. Alarcón
By Juan Felipe Herrera

Francisco de la plumas de Quetzal of the Quetzal feathers

the one who walked with healing-heart calls and copal incense

for all - the ones on the sidewalks the ones in the cafés & corners

you do not mind singing for all you do not think of that you sing

you make offerings year by year for the migrants for the hungry

the bread you bake is for every table the house you build covers

every child every familia in every color & vision of life yes this is

how you have chanted in every barrio school and city how can it

be we ask -- it is your heart that answers the call and it is your sky

shaped life that that makes it possible -- today it is our turn to sing

to you - to send you healings from the life fountains

heal in your beauty

heal in your body

heal in our lives

heal in all life within all life

for all life once again




To Francisco X. Alarcón
By Allison Hedge Coke

each night a canto

each day a song

condor and eagle

bring us here to

circle your breast

whisper your voice

sing to you in this

presence this light

this dark this time

listen we are with

you keeping time

present for you here





Achcauhtli
Odilia Galván Rodríguez

dedicated to the Cēmānāhuac Poet Laureate Francisco X. Alarcón

You, King of Hummingbirds
of Monarch butterflies
of bluest gulf waters
whose waves rise the height of skyscrapers
to kiss winking stars
in overcast skies
You, a lighthouse
that has always beckoned me
from that shadowy place
of deepest dark
of being lost in tumultuous waters
of self doubt and fear
You, who is always sure
of the magia
our ancestor’s tongues
the glyphs of invocation contained
in sounds of sunrise and sunset
their energy transferred to
our own words
to the sacred stones that sing
sealed by the feathers of mighty birds
or a simple snap of our fingers
You, man of heart and wisdom
there is no place you can go
that the wind does not whisper
your name
its secrets in your ear
the eternal spiral that links
your healing words
to our lips
that flower
in flor y canto

IN LAK'ECH - HALA K'IN

Notes:

Cēmānāhuac: the name used by the Aztecs to refer to their world. It is a Nahuatl name derived from the words "cē" one/whole and "Ānāhuac", which in turn derives from the words "atl" (water) and "nahuac."

Achcauhtli: Leader

IN LAK'ECH - HALA K'IN: Mayan for ~ I am you, and you are me.






Let it Be Another Day
By Edward Vidaurre

for Francisco X. Alarcón

I’d like for you to stay
because I promised myself to share
un cafecito with you
come March, when all the words make their way
west to speak of unity and hope
What color do you suppose this poem is?
Let’s find out together
Let’s close our eyes and listen to our breathing
Let’s listen to our skin shedding
Let’s listen to the cry of the unborn poets calling out your name
They’re telling us the reasons why you must stay
Let it be another day
to search for the wild wind we chased away
to search for the leaf that carries your echo, translated in ancestral tongue
to bathe in the river that drowns your pain
to forgive the men and women that licked your heart
Let it be another day
Today, let’s celebrate your life
and heal you with a wrap of begonias
leaving your chest in full view for the

moon to shine on your bronze skin 






Dador de Poemas
By Sonia Gutiérrez

para Francisco X. Alarcón, mi Santo Literario

En mis sueños
despiertos,
Dador de Poemas,
amaneces
sobre sábanas
blancas de papel
listo como siempre
para escribir,
donde el cielo
está lleno
de letras
luminosas,
y con tus manos
las amasas
para formar nubes
hechas de poemas.
Y después,
descansas
y subes la escalera
de una gigantesca
letra A mayúscula
y bajas
su resbaladilla
con los brazos abiertos,
riendo y sonriendo.
Y así pasarás
los días de enero,
febrero, y marzo
mientras por las mañanas
mis lágrimas ruedan
por mi rostro,
espejo de luna,
pero contenta
que huele
a poesía.

Giver of Poems
By Sonia Gutierrez

for Francisco X. Alarcón, my Literary Saint

In my dreams,
while awake,
Giver of Poems,
you awaken
on white
sheets of paper
ready like always
to write,
where the sky
is full
of luminous
letters,
and with your hands
you knead them
to form clouds
made out of poems.
And then
you take a break,
and go up the stairs
of a gigantic
uppercase A
and you go down
its slide
with your arms wide open,
laughing and smiling.
And that is how you will pass
the days of January,
February, and March
meanwhile during the mornings
my tears run down
my face,
mirror moon,
but happy
that it smells
like poetry.
Translation by Sonia Gutiérrez





For Francisco X. Alarcón
By Jose Faus

On this cold December night
the words drop on the paper
easy as the light
from the sliver of moon
that hovers over these lands
Where Hopi Navajo Anasazi
dwell off the side of cliffs
drawing the breath
in fits and gasps
like the first laugh of a child
where coyote crosses roads
and crow gathers pebbles
near first second and third mesas
and the old villages mirroring
the belt and heft of Orion
I see you shaman
with the spark of your eye
drawing us closer
to the gathering places
the wave of your hair
strands ladders to the old tales
and sacred halls
Cibola Aztlan Quivira and El Dorado
Set the dinner before us
there are many to feed
before turtle glides to the bottom
The sun holds its breath
as your children come for the blessing






Ce Ome Yei
by Iris De Anda

for Francisco X. Alarcón

The four directions have come to visit you here & now
They say you are the center
The hummingbird brings nectar of hope to your heart
It says you are the honeysuckle
The sun is dancing across your cheeks
It says you are the fire
The moon is illuminating the pathway to your dreams
It says you are the light
There is so much more to say
In your spirit the flor y canto of generations
Listening to you
we bloom palabra
Ce Ome Yei
count us into your world of words
they say you are the Poeta of ceremony
Tata Francisco X. Alarcón
Hijo de Tonantzin
Y
Hermano de la Humanidad






Chicahua Invocation
By Meg Withers

For Francisco X. Alarcón

Over and over

hummingbird flurry

winged buzz and hum

in the mind.

His smudge bowl

pearl smoke

Tiahui! Tiahui! Tiahui! Tiahui!

lashes us to one another

fierce Ocelotl

proud humility.

Ce uno one poet/healer.

Attentive courage

Ocelotl.

Delicacy

Xiuhpilli.

Eagle of language

Cuerpo en Llamas.





































Pachamama
By Genevieve Lim

I looked to the four winds

to the four seasons

to the four directions

Each cried out to me

with the lips of your prayers

with the storm of your poetry

slicing the boundaries that

were never meant to be

that kept us strangers

from the each other

nevermore, nevermore

We shall melt into the arms

of the sun

swallow the raindrops of

the clouds
vowing to be free, to be free

wayra

killa

chaska

Wind

moon

star




Meet the Poets
Canto for Francisco X. Alarcón, by Juan Felipe Herrera
To Francisco X. Alarcón, by Allison Hedge Coke
Achcauhtli, by Odilia Galván Rodríguez
Let it Be Another Day, by Edward Vidaurre
Dador de Poemas, Giver of Poems, by Sonia Gutiérrez
For Francisco X. Alarcón, by Jose Faus
Ce Ome Yei, by Iris De Anda
Chicahua Invocation, by Meg Withers
Because He Teaches Butterflies, by Karen S. Córdova
Pachamama, by Genevieve Lim


Juan Felipe Herrera is Poet Laureate of the United States.

Allison Adelle Hedge Coke’s books include Streaming, Blood Run, Off-Season City Pipe, Dog Road Woman, Sing: Poetry from the Indigenous Americas, Effigies, Effigies II, and Rock, Ghost, Willow, Deer. Awards include an American Book Award, a King*Chavez*Parks Award, Lifetime Achievement Award NWCA, and a 2016 Library of Congress Witter Bynner Fellowship. She teaches for VCFA MFA in Writing & Publishing and Red Earth MFA.

Odilia Galván Rodríguez, eco-poet, writer, editor, and activist, is the author of four volumes of poetry, her latest, The Nature of Things, with photographer Richard Loya. She has worked as an editor for Matrix Women's News Magazine, Community Mural's Magazine, and most recently at Tricontinental Magazine in Havana, Cuba. She facilitates creative writing workshops nationally, and moderates: Poets Responding to SB 1070, and Love and Prayers for Fukushima, both Facebook pages dedicated to bringing attention to social justice issues. Her poetry appears in numerous anthologies and literary journals, on and offline.

Edward Vidaurre, an emerging voice in Latino literature and Beat poetry. His work is forthcoming in The Beatest State in the Union: An Anthology of Beat Texas Writers and in Poetry Of Resistance: An Anthology Of Poets Responding To SB 1070 & Xenophobia. Vidaurre has also been published in other anthologies: Arriba Baseball!, and Juventud! and Boundless--the Anthology of the Valley International Poetry Festival 2011, 2012, 2013, and 2014, and in literary journals, among them: La Bloga's On Line Floricanto, Bordersenses, RiversEdge, Interstice, La Noria Literary Journal, Harbinger Asylum, Left Hand of the Father, Brooklyn & Boyle--a newspaper published in East Los Angeles, his hometown. His first collection of poetry, I Took My Barrio On A Road Trip, (Slough Press) was published in 2013 and his second collection, Insomnia (El Zarape Press), was published in 2014. Beautiful Scars: Elegiac Beat Poems (El Zarape Press) was published in 2015. Conceived in El Salvador and born in Los Angeles, California, in 1973, Vidaurre is the founder of Pasta, Poetry, and Vino--a monthly open mic gathering of artists, poets, and musicians. He has been listed in Letras Latinas List of 2013 A Year In Poetry: a Weblog of the literary program of the Institute for Latino Studies, University of Notre Dame as well as La Bloga's On Line Floricanto Best Poems of 2013 (list of six poets). Vidaurre co-edited TWENTY: Poems in Memoriam, an anthology in response to the Newtown, CT, tragedy, and Boundless 2014: the Anthology of the Rio Grande Valley International Poetry Festival. His work has been nominated for the Pushcart Prize. He resides in the Rio Grande Valley of Texas.


Sonia Gutiérrez’s work promotes social and human dignity. She is an Interim Assistant Professor of English at Mt. San Jacinto College at the San Jancito Campus.

Her poems have appeared in the San Diego Poetry Annual, La Jornada Semanal, and Poetry of Resistance: Voices for Social Justice, among other publications. Her poem, “The Garden of Dreams” is forthcoming in El Tecolote Anthology. La Bloga’s “On-line Floricanto” is home to her Poets Responding to SB 1070 bilingual poems, including “Best Poems 2011” and “Best Poems 2012.” Her vignettes have appeared in AlternaCtive PublicaCtions, Huizache, and Sunshine Noir II.

Sonia’s bilingual poetry collection, Spider Woman / La Mujer Araña (Olmeca Press, 2013), is her debut publication. She is a contributing editor for the The Writer’s Response (Cengage Learning, 2016). Her manuscripts, Kissing Dreams from a Distance, a novel, and Legacy / Herencia, a bilingual poetry collection, are seeking publication. Since 2014, Sonia has been a moderator for Facebook’s Poets Responding to SB 1070, founded by her Chicano role model, Francisco X. Alarcón. 

José Faus is a writer, visual artist and independent teacher. He maintains a studio in downtown Kansas City, Kansas. He is a founding member and past president of the Latino Writers Collective. He is president of the board of The Writers Place. He has presented locally and nationally as part of the Latino Writers Collective or as a visiting artist.


Iris De Anda is a Guanaca Tapatia who hosts The Writers Underground Open Mic at the Eastside Cafe every third Thursday of the month. Author of CODESWITCH: Fires From Mi Corazon. www.irisdeanda.com



Karen S. Córdova is a business woman and poet, who was born in Colorado and has deep roots both in Southern Colorado and Northern New Mexico. Much of her writing reflects love of her heritage by weaving stories about la gente of the Southwest. Her ancestors are Spanish, Native American, and two extranjero mountain men who wandered west. Karen lives in Southern California.

Karen participates in formal spoken word performances across the United States. She is proud to have participated in the 2010 Festival de Flor y Canto at USC and many ekphrasis events—collaborations of poets, visual artists, and performing artists. Karen curated her inaugural show, Ekphrasis: Sacred Stories of the Southwest, in May 2014, at OBLIQ Art in Phoenix, AZ.  She also loves to give formal presentations about how genealogy and cultural history inform her poetry.

Karen’s work has been published in various journals and other publications. Her first book, FAROLITO, was published in 2015 by 3: A Taos Press. FAROLITO is a true story, which casts a Hispano light on the dark subject of elder abuse and neglect, but also illuminates a jagged path to solution and unexpected healing. After reading several of the poems in the manuscript, executives from a Chicago production company featured Karen in the 2011 documentary, Mary Kay Inspiring Stories. Karen is grateful to have been asked by Dr. Laura Mosqueda, director of the National Center on Elder Abuse, to do a reading of FAROLITO at the USC Keck School of Medicine for faculty and students in late February 2016.

Karen also is grateful to have attended workshops taught by Francisco X. Alarcón at the National Latino Writers Conference in Albuquerque. Through those workshops, private conversations, and experience with Poets Responding to SB 1070, Karen was indelibly touched by the maestro’s generosity of spirit and example of using writing and public speaking as a tool to fight for social justice. (WE’RE ONE/sea/dust/tear/pollen —Francisco X. Alarcón)


Genny Lim is a noted poet performer who’s collaborated with the late Max Roach and bassist, Herbie Lewis. Lim has performed at numerous jazz festivals and venues coast to coast, including the SF Jazz Poetry Festival and World Poetry Festivals in Venezuela, Bosnia-Herzegovina and Italy. Her poetry and vocals can be heard on Asian ImprovArts recordings with Francis Wong, Devotee and Child of Peace and on Jon Jang’s Immigrant Suite. . She is the author of the award-winning play, Paper Angels, Island: Poetry and History of Chinese Immigrants on Angel Island and several poetry collections, including Paper Gods and Rebels.



Special On-line Floricanto: Nominees for Pushcart  

Recently, La Bloga happily shared the news that indie publisher Golden Foothills Press, founded in Pasadena in 2014 by Altadena Poet Laureate Thelma T. Reyna, has nominated six poets for one of the oldest, most prestigious literary awards in the United States: the Pushcart Prize.

Nomination alone marks a notable step in a poet's career. Celebrating the nomination, Golden Foothills Press holds a public literary event on Monday, February 8 in the Altadena Library Community Room in Altadena, CA, from 6:30-8:30 p.m. Free refreshments and special pricing on The Altadena Poetry Anthology, including the six poems here, add up to a festive reading.

======
lalo kikiriki
SOLSTICE












There is a
moonflower aching to bloom,
waiting for sundown
to unfold.

Water, holding the heat of the sun,
relaxes, evaporates in opal air…
the perfect skeleton of a lizard
agonizes forever
on an anthill at the curb-line.

Desiccated roses,
with aphids trapped inside,
nod to the curled,
blanched leaves of swooning fuchsias
in the garden of an ersatz castle,
self-important
among peaked cedars.

The stucco shivers,
remembering earthquakes,
perfect silence,
perfect heat –
This is earthquake weather
And I have this craving for
shadows, shadows,
the coffin’s cool satin,
the comfortable grave.


======
Nancy Lind
OJUS, FLORIDA: 1945—THAT DAY













Buddy Blount came to school barefoot,
Shared my bench,
Joked that his toes were handy for math.

At brown-bag lunchtimes,
Eating his bread with mayo,
He talked only about big brother Lester,
Brought letters with strange stamps,
Photos, news about Hitler’s death.
As much as first-graders could think,
We all had one thought:
“So that was love –
Absence, letters, pictures, hope.”

A quiet boy in class Buddy was,
Except for one day,
Right after the Pledge of Allegiance.
He saw a soldier at the door,
Jumped up, shouting,
Jumped into the soldier’s arms,
Sobbing.

As if seeing a movie,
With all of us watching, yet in it,
We stood by our desks,
Mouths open,
And stretched our first notions of love:

It was like bear-hugs,
Like gushing tears,
Like kisses,
Like “Don’t go back, please, please,”
Like rocking the boy,
Like “I’m not – I’ve got you,
I’ve got you.”


======
Mark A. Fisher
PAPYRUS












sharp shards of poems
from ancient hands
shaped and fired
in vain attempts
to freeze myths
in clay and words
recited over a potters's field
where sextons dig to make room
stacking the bones of stories
in library ossuaries
to gather dust
and become mere ash
then return to the void


========
Luivette Resto 
LIKE MOTHER, LIKE DAUGHTER












The blend of Newports
and wine on my breath
remind me of her
as I light my next cigarette.

Holding it the way she does,
poised and lady-like
when she holds court during
unsanctioned smoke breaks.

Curve my left eyebrow like her
when I hear bullshit pick-up lines
or excuses masked as reasons,
talk with my hands
as I spew Spanish curses at
NASCAR-worthy speed.
We hold our vulnerabilities
like we hold back our tears,
with purpose and protectiveness.

Smile when we really want
the earth to swallow us whole,
enjoy the silence of solitude
(a bit too much perhaps),

dream to be a starfish
because, like comic book heroes,
they possess regenerative super powers.
Like the intersections of a Venn Diagram,

we share the shame of early pregnancies,
disgust for tolerated slaps to the face, but
today I rewrite the plot of our lives,
flicking ashes on the ground,
knowing we will be them one day.


========
DEAR TEACHER
Shahe Mankerian

Do not tell us about the rib cage
shielding the sinuous chambers
of Aristotle. He did not snuff

the internal lamp or allow
the woman’s heart to beat faster
than the man’s. Let the French

invent the stethoscope to avoid
placing the ear on the cleavage.
We've heard it before: "Grab

a tennis ball and squeeze it
tightly: that’s how hard the beating
heart labors." We’re more likely

to have cardiac arrests
on Monday mornings. You told us
the heart rate of a horse mirrors

the human subject touching it.
Then will a cracked mirror echo
the broken heart scraping it?


========
Tim Callahan
A LATE MONARCH












This bright visitor flitting
through the late and low
and luminous light of autumn
so surprising and superb
in her flashing orange flutter
now approaching now receding
lights with only fleeting favor
on the milkweed then with
seeming fickle nature flits away
as though startled yet returns
and lights again to once again
lay her eggs and yet again
flits and flutters away to scatter
light with unexpected color
as she dances in the air in
delightful and erratic flight
through a garden in decline
in shorter days and cooler
a garden she graces only briefly
with a presence so surprising
of her passing, flaming beauty